Discography Divorce: You Can Have All The Billy Joels. Except The Stranger

Alec: I’m sickLeslie:What’s wrong?Alec: Just sickness

For many that came of age in the 80′s, a double-feature both scathing and saccharine ran concurrently in our teenage minds. Each spoke directly to our youth’s romantic angst. The first, The Breakfast Club, is unassailable by any critic worth his salt. The second, not so much. But still, it presents a scene so well conceived, so close to the bone, that the squeamishly sentimental St. Elmo’s Fire squats permanently in the minds of broken-hearted record geeks everywhere.

Annie Hall wrote her name inside her books so Alvy couldn’t claim them as his own. In the Age of Digital, division of Sell My House Fast real estate (at least where pop records are concerned) is a relative non-issue. Each party gets it all: the Billy Joels, the Carly Simons, and any other shmaltzy crap you may have guiltily romanticized while making hip, critically astute proclamations about Post-Punk’s influence on bands borne of the new millennium.

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Breaking up is hard to do. But in this rare case, everyone wins the record collection negotiations. Unless you happen to be a vindictive dick or a cold-hearted a bitch from hell. Alec and Leslie may have been. Annie and Alvy were not.

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